Nacho García (Córdoba, 1983) is an off-road comedian. Of those who do both radio and television or stand-up. He was studying Computer Science at the age of 18, when he went to a monologue contest and stayed in this world until today. For five years, he has maintained his show I’m older at the Palacio de la Prensa in Madrid. He confesses that one of the aspects he likes most about live performances is letting himself be carried away by what happens: ” Sometimes there is a great audience with whom a thousand things happen and it is funny. In the end, the audience is a group of people who behave as one person. Sometimes they are calmer, sometimes they clap more, sometimes less. And different things happen and that is why each performance is different. ”
Many people have discovered you for your morning television collaboration on The hour of the 1. What do you do the rest of the day?
I’m in The hour of the 1 in the mornings, every day from Monday to Friday with Miguel Campos. I’m on National Radio also in No matter what it takes, once a week. I go there with Virginia Riezu. We make a section called Little joke. I’m also with my show in Callao called I am older. I have a podcast with my partner, with Miguel Iríbar, who was also around here, called The shovel. The truth is that I am quite busy. I sleep little sometimes. But very happy, really.
There are not many comedians willing to get up early to work on television morning shows. How do you carry the experience?
Well, look, at first, Miguel Campos and I thought it was going to cost us a humor section to work, because at that time people are not used to humor. It is not normal. But for some reason it works great. It is also very easy to work with Miguel Campos. A lot of people write to us who watch the program, who like it. We have found that maybe there is a strip there where there may be room for humor. See, for example, the program by Alfonso Arús, where they also do humor. At the moment we are happy. It is looking good.
On public television, can you make political humor that doesn’t cause problems?
Sure you can’t do The intermediate. But there is room for humor. It is not the same type of humor but there is room. In fact, for Miguel, who works at The resistance Also, and for me, who have worked in other programs, it is like going in another speed. When it is a general public, almost that sometimes you speak more thinking about not messing up than about making people laugh. Almost more you write things thinking about “Let’s see what garden I can get into if I say this” than thinking about it being funny. But it is true that in the end what you say is funny.
To make up for the early start, you have set up a comedy bar. How do you lead that double life?
I’m a member of a bar with more comedians: with Eva Soriano, with Diego Daño, with Fran Pati and with Manu. Manu does not have a last name because he is not comical but he really is the one who knows the most about bars. We have a bar called The gulf and it is what occupies us the time. I am delighted in all the places, the truth. I’m lucky because I have had nice people around me. That is good. If you have people who support you, people who are with you, people who laugh with you and people who you laugh with, everything is easier and everything works out better.
Do you often perform in your own bar?
I have a problem. I am very left to advertise the places where I perform. In other words, there are times when I act on a site and I don’t notice it, which makes it very difficult for people to go. And sometimes it happens to me that I see myself acting with few people because of me. The last one I had for example, in The Gulf, in the bar that I am telling you, for six people, two of whom were in an evident state of intoxication. It was a performance that started off pretty weird, but for some reason, there came a time when one of the people who were drunk said out loud, I don’t know why, that she missed a guy she had hooked up with so much. fifteen years ago in Cádiz. There were six of us from the audience and two of us who were performing. More than a performance, they were people who had been locked in an elevator.
And how did the performance progress?
That suddenly became Save me. It became a kind of Save me in which neither was famous. So I started incorporating the story into acting: “And why do you miss him? What happened to you? Tell us how it was!” The rest of those in the audience also began to ask: “And how long ago did you get involved? And do you miss him? But do you think you miss him?” She continued the conversation: “No, no, not. I don’t miss him. ” “But you got his name. If you got his name, you miss him.” And then I said: “Shall I call you?” And everyone started: “No, don’t call him. He doesn’t deserve it. Don’t call him.” I mean, suddenly everyone started participating and what was going to be a very difficult performance to do, became in a hilarious thing.
How is this genre of comedy defined?
Actually, it became a kind of group therapy. All talking about the boy she liked in Cádiz, with whom she had been involved fifteen years ago and who she had not remembered for a long time. Besides, she told us: “I don’t know why I just remembered him.” And everyone analyzing him, like when you interpret a dream: “But you, whatever happens, don’t call him because he doesn’t deserve it. Because you already live another life. You don’t have to call. ” It became a very cool thing, for some very weird reason. The eight of us who were there became friends. In fact, we haven’t seen each other again. This happened three weeks ago and I am missing them because I would like to know if this girl is alright, if she is still thinking about that boy. I would like to know how it has been.
Is it better to work with a lot or with a small audience?
When you perform in outdoor venues especially, with eight hundred people, communication is by shouting with the public. At most someone yells something at you and you answer him. The one in the last row hears nothing of what is happening. But when you have to act for a few people, I think you have a better time. What happens is that it could not always be like that because then I would die ruined. You need a lot of people to come. You need a middle ground. Let a lot of people come but everyone can see it well. But it is true that when few people come, when you are like this, the six of you as a group of colleagues who have stayed, that is wonderful.
Do you improvise a lot in your performances?
I improvise more and more. It used to happen less to me, because I was nervous when I went out to act. Because he was nervous, he wasn’t listening. Because the bad thing about being nervous is that you don’t listen, you only hear what’s in your head. You are so nervous and so aware of what I am going to say, that you do not listen to people. There will be people who have a lot of ease and who never get nervous, of course. But I’ve always been very nervous. But for about four years, even though I’m nervous, I no longer get carried away by nerves and I am able to be talking and listening to what people are saying. And if something happens, I realize. And if someone comes late, I can tell. And if someone has a pair of pants that makes me funny the color, I realize it. And if I hear a comment in the background, if someone sneezes, I can tell. Because I can be aware of that. Now I have the opposite problem, which is that I am distracted by everything.
Do you usually incorporate what happens to your Show?
Many times, yes. In fact, people think that you are improvising and what you are doing is repeating something that you improvised again. I mean, many times you improvise something because someone gets up and goes to the bathroom and you say something silly that is funny and the fifteenth time you say it, then someone comes up to you after the performance and says: “But how did you improvise? that?”. And you say, “Well, I haven’t really improvised it. I improvised it once in my life, but the rest of the times I’ve already done it.” Therefore, the more you act, the better, because more things will happen to you. It is difficult for something to happen to you on stage that has not happened to you once.